Parker Posey

Finally, a film that explores the challenges and insecurities facing middle school girls minus an overabundance of attitude. Alice Upside Down, based on the book The Agony of Alice by Phyllis Reynolds Naylor, is the story of Alice (Alyson Stoner), an insecure 6th grader who's mother died several years ago who's just moved to a new town where she'll be entering middle school. A magnet for embarrassing moments, Alice's first meetings with her neighbor Elizabeth (Parker McKenna Posey) and soon-to-be-classmate Patrick (Dylan McLaughlin) are hardly omens of a smooth introduction to middle school. Worse yet, the first day of school finds Alice enrolled in nightmare teacher Mrs. Plotkin's (Penny Marshall) homeroom class, at odds with the school principal, and saddled with a derogatory nickname that threatens to stick. Like many adolescents, Alice deals with her self-doubt by fantasizing about encounters in which she's confident and popular and by shutting out her father Ben (Luke Perry) and her older brother Lester (Lucas Grabeel). As Alice struggles to find her place in middle school, she matures both emotionally and socially and her relationships with her family, friends, and teacher Mrs. Plotkin begin to change and grow in positive ways. What's so refreshing about Alice Upside Down is that the film truly captures the insecurities of being an 11-year-old about to enter middle school without the abundance of teen attitude so popular in contemporary films. Alice is the adolescent every parent hopes for--she's a real, likeable kid who's changing and maturing into a strong young woman. (Ages 7 and older) --Tami Horiuchi Stills from Alice Upside Down (Click for larger image) Beyond Alice Upside Down The book that started it all The newest book in the Alice series More from Anchor Bay

Change to: Still mourning the death of her mother a few years back, Alice McKinley finds her life seriously disrupted when her father Ben buys a store and moves her and her older brother Lester to a new town. In the painful throes of adolescence, Alice has a rough time adjusting to her new school, especially after she gets the stern Mrs. Plotkin as her core teacher. Feeling shy and isolated, Alice frequently escapes into a vivid fantasy life that occasionally gets her into hot water. But with a little unexpected help from Mrs. Plotkin, Alice learns not to judge by appearances or jump to conclusions. More importantly, she confronts her father over his inability to accept their loss and move on into the future.

As he did with Spinal Tap, Christopher Guest has the uncanny ability to perfectly mock and pay tribute to a music sub-culture. This time around, he spoofs the folk revival scene of the 1960s that spawned the Kingston Trio, Limeliters, and Peter, Paul & Mary with a movie about the reunion concert of fictitious groups Mitch & Mickey, the Folksmen, and the New Main Street Singers. Mitch & Mickey's romance-themed duets sound more earnest than campy, though it's hard not to laugh at the autoharp solo on "A Kiss at the End of the Rainbow." The real highlights belong to tracks by the hilarious Folksmen, whose repertoire somehow included a goofy song about the Spanish Civil War ("Skeletons of Quinto"), a harmonizing take on the Stones' "Start Me Up," and a tune seemingly about a train wreck in a coal mine ("Blood on the Coal"). Simply hilarious. --Jason Verlinde

12 track soundtrack from the Parker Posey film. Booklet has very light 'pinch' mark. Very slight scuff on disc will not affect play.

By now, Tom Hanks and Meg Ryan have amassed such a fund of goodwill with moviegoers that any new onscreen pairing brings nearly reflexive smiles. In You've Got Mail, the quintessential boy and girl next door repeat the tentative romantic crescendo that made Sleepless in Seattle, writer-director Nora Ephron's previous excursion with the duo, a massive hit. The prospective couple do actually meet face to face early on, but Mail otherwise repeats the earlier feature's gentle, extended tease of saving its romantic resolution until the final, gauzy shot. The underlying narrative is an even more old-fashioned romantic pas de deux that is casually hooked to a newfangled device. The script, cowritten by the director and her sister, Delia Ephron, updates and relocates the Ernst Lubitsch classic, The Shop Around the Corner, to contemporary Manhattan, where Joe Fox (Hanks) is a cheerfully rapacious merchant whose chain of book superstores is gobbling up smaller, more specialized shops such as the children's bookstore owned by Kathleen Kelly (Ryan). Their lives run in close parallel in the same idealized neighborhood, yet they first meet anonymously, online, where they gradually nurture a warm, even intimate correspondence. As they begin to wonder whether this e-mail flirtation might lead them to be soul mates, however, they meet and clash over their colliding business fortunes. It's no small testament to the two stars that we wind up liking and caring about them despite the inevitable (and highly manipulative) arc of the plot. Although their chemistry transcended the consciously improbable romantic premise of Sleepless, enabling director Ephron to attain a kind of amorous soufflé, this time around there's a slow leak that considerably deflates the affair. Less credulous viewers will challenge Joe's logic in prolonging the concealment of his online identity from Kathleen, and may shake their heads at Ephron's reinvention of Manhattan as a spotless, sun-dappled wonderland where everybody lives in million-dollar apartments and color coordinates their wardrobes for cocktail parties. --Sam Sutherland

By now, Tom Hanks and Meg Ryan have amassed such a fund of goodwill with moviegoers that any new onscreen pairing brings nearly reflexive smiles. In You've Got Mail, the quintessential boy and girl next door repeat the tentative romantic crescendo that made Sleepless in Seattle, writer-director Nora Ephron's previous excursion with the duo, a massive hit. The prospective couple do actually meet face to face early on, but Mail otherwise repeats the earlier feature's gentle, extended tease of saving its romantic resolution until the final, gauzy shot. The underlying narrative is an even more old-fashioned romantic pas de deux that is casually hooked to a newfangled device. The script, cowritten by the director and her sister Delia Ephron, updates and relocates the Ernst Lubitsch classic The Shop Around the Corner to contemporary Manhattan, where Joe Fox (Hanks) is a cheerfully rapacious merchant whose chain of book superstores is gobbling up smaller, more specialized shops such as the children's bookstore owned by Kathleen Kelly (Ryan). Their lives run in close parallel in the same idealized neighborhood, yet they first meet anonymously, online, where they gradually nurture a warm, even intimate correspondence. As they begin to wonder whether this e-mail flirtation might lead them to be soul mates, however, they meet and clash over their colliding business fortunes. It's no small testament to the two stars that we wind up liking and caring about them despite the inevitable (and highly manipulative) arc of the plot. Although their chemistry transcended the consciously improbable romantic premise of Sleepless, enabling director Ephron to attain a kind of amorous soufflé, this time around there's a slow leak that considerably deflates the affair. Less credulous viewers will challenge Joe's logic in prolonging the concealment of his online identity from Kathleen, and may shake their heads at Ephron's reinvention of Manhattan as a spotless, sun-dappled wonderland where everybody lives in million-dollar apartments and color coordinates their wardrobes for cocktail parties. --Sam Sutherland

When a suburban housewife, Eliza (Hope Davis), discovers a love letter in her husband's pocket, it starts a wild, quirky, and ultimately poignant journey through the strained relationships of her entire dysfunctional family. Thinking it must be some misunderstanding, she brings the letter to her unbearably dominating mother (Anne Meara), who freaks and piles her passive husband (Pat McNamara), Eliza's promiscuous sister (Parker Posey), and her philosophical fiancé (Liev Schreiber) into a station wagon and heads off to New York City for an explanation. First-time writer/director Gregg Mottola changes the road movie's typically vast and open landscape to a claustrophobic, bustling urban setting but still uses it as a way to force out unspoken emotional turmoil between all three of the couples. His dialogue is often sharp and perceptive, and while the situations often contain huge laughs, an undercurrent of pain lurks just beneath the humor. The indie film uses conversations instead of plot to drive its action, and therefore needs engaging performances to succeed. With the exception of the one-note Posey, it gets them: Davis and Schreiber both play pathos and humor beautifully, and Stanley Tucci's cameo as the suspect husband--and the heartbreaking rooftop dance he performs--provides a surprising and ambiguous conclusion. --Dave McCoy

One of the funniest films in many a moon was hiding at art house theaters in 1998. Former Saturday Night Live comedian and Spinal Tap member Christopher Guest creates the ultimate parody of small-town dramatics, Waiting for Guffman. Corky St. Claire (Guest), an overwhelming drama director hiding out in Blaine, Missouri, thinks he has found the vehicle to put him back on Broadway: the city's 150th anniversary play, Red, White, and Blaine. As rehearsals start, we learn of the town's history ("the stool capital of the world") including a brush with a UFO. The mockumentary follows the various townsfolk wishing for stardom: Parker Posey as a Dairy Queen clerk, Catherine O'Hara and Fred Willard as stage-struck travel agents, Matthew Keeslar as the town's bad boy, and Eugene Levy (who cowrote the film with Guest) as a dentist who dreams of glory on the stage. The film is a hoot from beginning to end, and be sure to watch the closing credits. Fans of Guest's deft dry humor should not miss his other parody of the entertainment world, The Big Picture (Kevin Bacon as a student filmmaker who goes to Hollywood). --Doug Thomas

The 1940 film "The Shop Around the Corner" gets a high-tech revamping in this romantic computer comedy. Tom Hanks and Meg Ryan star as New York business rivals--a corporate bookstore magnate and the owner of a small children's book shop, respectively--who meet and fall in love, unaware of each other's identity, over the Internet. With Greg Kinnear, Parker Posey, Jean Stapleton; directed and co-scripted by Nora Ephron ("Sleepless in Seattle"). 120 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital 5.1; Subtitles: English (SDH); featurettes; audio commentary; interview; music video; isolated music score.

By now, Tom Hanks and Meg Ryan have amassed such a fund of goodwill with moviegoers that any new onscreen pairing brings nearly reflexive smiles. In You've Got Mail, the quintessential boy and girl next door repeat the tentative romantic crescendo that made Sleepless in Seattle, writer-director Nora Ephron's previous excursion with the duo, a massive hit. The prospective couple do actually meet face to face early on, but Mail otherwise repeats the earlier feature's gentle, extended tease of saving its romantic resolution until the final, gauzy shot. The underlying narrative is an even more old-fashioned romantic pas de deux that is casually hooked to a newfangled device. The script, cowritten by the director and her sister, Delia Ephron, updates and relocates the Ernst Lubitsch classic, The Shop Around the Corner, to contemporary Manhattan, where Joe Fox (Hanks) is a cheerfully rapacious merchant whose chain of book superstores is gobbling up smaller, more specialized shops such as the children's bookstore owned by Kathleen Kelly (Ryan). Their lives run in close parallel in the same idealized neighborhood, yet they first meet anonymously, online, where they gradually nurture a warm, even intimate correspondence. As they begin to wonder whether this e-mail flirtation might lead them to be soul mates, however, they meet and clash over their colliding business fortunes. It's no small testament to the two stars that we wind up liking and caring about them despite the inevitable (and highly manipulative) arc of the plot. Although their chemistry transcended the consciously improbable romantic premise of Sleepless, enabling director Ephron to attain a kind of amorous soufflé, this time around there's a slow leak that considerably deflates the affair. Less credulous viewers will challenge Joe's logic in prolonging the concealment of his online identity from Kathleen, and may shake their heads at Ephron's reinvention of Manhattan as a spotless, sun-dappled wonderland where everybody lives in million-dollar apartments and color coordinates their wardrobes for cocktail parties. --Sam Sutherland

By now, Tom Hanks and Meg Ryan have amassed such a fund of goodwill with moviegoers that any new onscreen pairing brings nearly reflexive smiles. In You've Got Mail, the quintessential boy and girl next door repeat the tentative romantic crescendo that made Sleepless in Seattle, writer-director Nora Ephron's previous excursion with the duo, a massive hit. The prospective couple do actually meet face to face early on, but Mail otherwise repeats the earlier feature's gentle, extended tease of saving its romantic resolution until the final, gauzy shot. The underlying narrative is an even more old-fashioned romantic pas de deux that is casually hooked to a newfangled device. The script, cowritten by the director and her sister, Delia Ephron, updates and relocates the Ernst Lubitsch classic, The Shop Around the Corner, to contemporary Manhattan, where Joe Fox (Hanks) is a cheerfully rapacious merchant whose chain of book superstores is gobbling up smaller, more specialized shops such as the children's bookstore owned by Kathleen Kelly (Ryan). Their lives run in close parallel in the same idealized neighborhood, yet they first meet anonymously, online, where they gradually nurture a warm, even intimate correspondence. As they begin to wonder whether this e-mail flirtation might lead them to be soul mates, however, they meet and clash over their colliding business fortunes. It's no small testament to the two stars that we wind up liking and caring about them despite the inevitable (and highly manipulative) arc of the plot. Although their chemistry transcended the consciously improbable romantic premise of Sleepless, enabling director Ephron to attain a kind of amorous soufflé, this time around there's a slow leak that considerably deflates the affair. Less credulous viewers will challenge Joe's logic in prolonging the concealment of his online identity from Kathleen, and may shake their heads at Ephron's reinvention of Manhattan as a spotless, sun-dappled wonderland where everybody lives in million-dollar apartments and color coordinates their wardrobes for cocktail parties. --Sam Sutherland

Landmark, groundbreaking, classic—these adjectives barely describe the earthshaking and long-lasting effects of Betty Friedan's The Feminine Mystique. This is the book that defined "the problem that has no name," that launched the Second Wave of the feminist movement, and has been awakening women and men with its insights into social relations, which still remain fresh, ever since. A new introduction by the bestselling author Anna Quindlen traces the book in her own story and how it was prescient on consumer culture as well as domestic issues. “Betty Friedan has been and remains a bridge between conservative and radical elements in feminism, an ardent advocate of harmony and human values.”—Marilyn French, Esquire “One of those rare books we are endowed with only once in several decades, a volume that launched a major social movement. …Betty Friedan is a liberator of women and men."—Amitai Etzioni, author of The Spirit of Community: The Reinvention of American Society

Rose-Petal almost dies when Nastina, the spider, does a nasty deed.

From the editor-in-chief of Cosmopolitan magazine and author of Why Good Girls Dont Get Ahead but Gutsy Girls Do comes a debut novel about a true crime writer for New Yorks hottest womens magazine. Bailey Weggins, a clever writer for a leading womens magazine, Gloss, is dragged into a murder investigation by her editor-in-chief and boss from hell, Cat Jones. Cat is a woman who gets what she wants from her employees, so when she discovers that her nanny has been murdered she insists Bailey find the killer before the police do. Was the chocolate that poisoned the nanny meant for Cat, known for her love of truffles? But then, the beautiful, duplicitous nanny has an enemy list all her own. The investigation takes Bailey from the streets of New York City to the swankiest Connecticut suburbs and Bucks County retreats, and everyone is a suspect, including the catty editors at Gloss. Bailey proves that she is the original gutsy girl when she outwits the clever killer.

Signed 8x10 comes with powers collectibles coa and matching holograms

Signed 8x10 comes with powers collectibles coa and matching holograms

Signed 8x10 comes with powers collectibles coa and matching holograms